Since their inception with the "Philisopher's Stone" (2001) I have really enjoyed the series that depicts the trials and tribulations of the "boy wizard" and his two best pals, and this last, but one, episode in their adventures is super. It's no longer a cheesy, children's franchise - but a dark, gritty and thoughtful piece of work from David Yates that really does convey some of the sinister and malevolent aspects of JK Rowling's book. Harry, Ron and Hermione are all but grown up - whether they are old enough, or not - and with their friends and allies must now prepare for the final battle with "Voldemort". This involves the seeking out and destruction of the crucial horcruxes that each contain a part of the life-force of their evil foe. The writing is taut, as is the direction - the personalities of the three characters we have followed for the last 9 years have developed into plausible people - with quirks, strengths, weaknesses - and (sadly) even romantic tendencies. It's fantastic cinema, with captivating visual effects, characterisations and a much more mature storyline that deals with both triumph and disaster using a superb ensemble cast drawn from amongst the best actors who all contribute to build a real sense of unity and jeopardy ahead of part 2.... One for the big screen, definitely...

I've been really looking forward to watching this film. Book 7 is my favorite Harry Potter book so being able to see it on film is really exciting. I was satisfied. I know I won't see everything that I read in the movie although there were some parts wherein I wished I saw it like the goodbye of the Dursleys to Harry. It made me tear up while reading the book but I didn't really see it in the film. Also, the way how Hedwig died in the film did not make that big of an impact. I was surprised though in the part where Harry and Hermione kissed. It was in the book but in the movie, they were naked! I was really surprised. And then Hermione looks gorgeous as always and Harry looked good in the movie too. The part where Harry and Hermione danced was not in the book but I liked that part. Harry looked cute for me in that part.
All in all, I was satisfied. I'm looking forward to watch the next part and I can't wait. My rate for this movie is A.

There are two really engaging performances on offer here as Ethan Herisse and Brandon Wilson deliver a powerful indictment of a Florida school for boys. Induced there with promises of innovative educational practices and no exorbitant fees, these lads arrive to discover that what they are attending is little better than a prison. Governed by brutality, starvation and violence, the boys have to conform to the demands of their boss “Spencer” (Hamish Linklater) or else life won’t be for the living. It’s worth pointing out that this isn’t just a school for black kids, all shapes and sizes are used and abused here and even if the authorities do decide to make a rudimentary visit, nobody ever dares to step out of line. It’s told using a combination of timelines, so there’s not so much actual jeopardy for the two characters, but what we do see is just how each struggled to come to terms with their predicament in different ways, yet always managing to provide support for the other. As we build to the conclusion, the true extent of the horrors inflicted on these students becomes more appreciable and the production starts to mingle the drama with real-life photography, statistics and more abstract imagery that proves intangibly effective at illustrating just how messed up people could be after a childhood/youth spent in fear. It takes it’s time which at times can prove frustrating, but in the end I reckon RaMell Ross manages to pick his way through this emotional minefield carefully and poignantly and it’s a tough, but worthwhile, watch.

The artistic choices a director makes while working on a film often contribute much to the success or failure of the finished project. When these decisions aptly suit the nature of the production, they can transform a commendable picture into a cinematic masterpiece. But, when they fail at this, they can unduly get in the way, and such is the case with this debut narrative feature from writer-director RaMell Ross. Based on the 2020 Pulitzer Prize-winning novel by Colson Whitehead, the film tells the story of two young Black men, Ellwood (Ethan Herisse) and Turner (Brandon Wilson), who reside at the Nickel Academy, a fictional Florida reform school based on the infamous Dozier School for Boys, an institution known for its notoriously abusive treatment. Set in the 1960s against the backdrop of the Civil Rights Movement, “Nickel Boys” depicts the horrendous atrocities inflicted upon the two friends and other “academy” residents, brutality that included acts of physical and sexual abuse, as well as the mysterious “disappearances” of those who fail to abide by the facility’s strict rules. This is obviously an important and troubling story, one that desperately needs to be told. But, despite the picture’s fictional treatment of a fact-based tale, the impact of the story is severely diluted in this anemic screen adaptation, primarily due to the filmmaker’s attempt at wrongheadedly trying to turn it into some kind of cinematic art project. Much like the director’s inexplicably Oscar-nominated documentary feature “Hale County This Morning, This Evening” (2018), this release is seriously burdened by an array of unsuitable cinematography choices, some of which are employed unevenly, some of which add nothing particularly meaningful and others that are just plain odd. When combined with the picture’s poorly penned screenplay – one rife with redundant, predictable sequences and tediously dull dialogue that tries to pass itself off as more profound than it genuinely is – viewers are left with an overlong, lackluster narrative that significantly waters down the relevance of the events being chronicled here and that could have easily pruned about 30 minutes from its excessive 2:20:00 runtime. In fact, were it not for the fine performance of Aunjanue Ellis-Taylor as Ellwood’s loving grandmother, there’s not much else worth watching in this exercise of style over substance. Indeed, how this offering has managed to capture the attention of the critics’ community is truly beyond me. An incensing tale like this deserves much better than what’s on offer in this disappointing slog, yet another of 2024’s disappointing celluloid failures.

Invariably, there’s always one film release each year that’s vastly and inexplicably overrated, both in terms of critical acclaim and awards season recognition, and this disappointing, tediously paced slog tops my list of candidates for 2024. Writer-director Payal Kapadia’s examination of contemporary working class conditions in Mumbai follows the stories of three women who struggle with getting by financially, vocationally and personally, all of them having relocated to the city from their rural roots in search of illusory, overpromised opportunities. The picture has been widely praised for its gentle treatment of its subject, along with its sensitive and nuanced handling of its principals’ lives. To me, however, this is a politely euphemistic way of saying it’s boring (I can’t recall how many times I checked my watch during the screening I attended). Moreover, this offering tries unsuccessfully to cover too much ground (and not very well at that), including an array of topics ranging from loneliness to fiscal hardship to gentrification to outmoded traditions and more. I also don’t find this offering to be especially groundbreaking in terms of its subject matter; its themes of working class struggles and personal isolation, in my estimation, are addressed far more effectively in other Indian films like “The Lunchbox” (2013) and “Fire in the Mountains” (2021), which present more compelling and more engaging treatments of their stories (watch those pictures instead). On top of all this, there are some narrative elements that don’t feel sufficiently fleshed out or that are either implausible or woefully executed surrealistically (it’s subtlety often makes it hard to tell which is truly the case). Admittedly, the film’s aesthetics, such as its cinematography, have much going for them, but they’re not nearly enough to make up for the picture’s larger and more significant shortcomings. At the risk of being ridiculed, I truly don’t believe “All We Imagine as Light” is rightfully worthy of the many accolades it has received from the Golden Globe Awards, the Critics Choice Awards, the Independent Spirit Awards, the National Board of Review, and the Cannes and Chicago Film Festivals, among others. With so many other (and better) international film offerings out there, it’s regrettable that these competitions and festivals have squandered nominations and awards on this needlessly hyped undercooked release.

_All We Imagine as Light_, a visually delicate exploration of intimacy, displacement, and the quiet search for connection, has earned the prestigious Grand Prix at Cannes. Set in Mumbai, the film follows the lives of three women working in a hospital as they navigate the complexities of their personal lives and fleeting moments of closeness. The film's serene atmosphere, like a gentle breeze, and ethereal cinematography create a meditative mood that resonates deeply with viewers seeking emotional introspection.
Despite its accolades, _All We Imagine as Light_ feels more like a familiar echo than a groundbreaking work. It thrives on its quiet pacing and understated performances but leans heavily on well-trodden narratives. The story explores a short-lived, transformative period in people's lives without providing clear resolutions. While this might appeal to slower, more reflective cinema fans, it risks leaving others feeling they've seen this narrative too many times before. The film's lack of emotional depth can make its drawn-out pace seem unnecessary, leading some to question whether its ambiguous ending is an artistic choice or a narrative flaw.
At times, _All We Imagine as Light_ feels ephemeral—beautiful, yes, but fleeting and ultimately unsatisfying. Exploring a few months in each character's life is compelling, but the film struggles to find new angles on the well-worn theme of the void of human connection.
The performances, though strong, need to elevate the material more to make it stand out as extraordinary. Kani Kusruti, Divya Prabha, and Chhaya Kadam bring authenticity to their roles. Still, their characters don't grow beyond their archetypes—estranged lovers, lonely workers, and outsiders searching for meaning.
Ultimately, _All We Imagine as Light_ is a pleasant but slightly disappointing film. It lingers in the memory, not because it profoundly moves you but because it leaves you wondering if you've seen this story in another movie—perhaps better executed. It's a pleasant watch, offering moments of beauty and introspection, even if it doesn't fully live up to the fanfare.

"Prabha" (Kani Kusruti) is a nurse in a busy Mumbai hospital who shares her tiny apartment with the usually skint "Anu" (Divya Prabha). We quickly learn that she is married but her husband left her some while ago to work in Germany and she hasn't heard from him in over a year. "Anu", on the other hand, has a different emotional problem. She has fallen in love with a young Muslim man "Shiaz" (Hridhu Haroon) but knows full well that neither her colleagues nor her family will ever permit such a relationship, let alone any marriage - so perhaps elopement is their only solution. Meantime, whilst these women deal with their own domestic issues, their friend "Parvaty" (Chhaya Kadam) is facing eviction from her home as the developers want to move in. Their threats have given way to more practical action as her electricity has been disconnected. In the face of this, she decides it's time to return to her ocean-side village where at least she has her own home. Sympathetic to her plight, the two friends agree to accompany her and it's whilst there that we discover through conversation and flash-backs a little of just how each woman found themselves where they are now, and we take a look at what opportunities might present themselves for their futures. It's a delicately presented story this, set amongst the hustle and bustle of a city that never stops. These women care about others all the time, but are gradually becoming aware that they also have to start caring more about themselves - and for "Prabha" who has attracted the interest of the kindly "Dr. Manoj" (Azees Nedumangad) she has to decide whether to remain faithful to her past or look to what might be next. There's some solid photography throughout capturing both the lively (and frequently rainy) urban busyness as well as the beauty of the water and the ancient peaceful symbolism carved in the caves, and the whole thrust of the narrative illustrates poignantly the choices (or lack of them) that these women can make in a society where conformity is the order of the day. It can be quite fun at times too, these women are not sackcloth and ashes characters, but there's still a potent message that creates an engaging and characterful study that's well worth a couple of hours.

"Lang" (Eddie Peng) has returned to his hometown after a term in prison. We learn a little more about the causes of that and of his distant relationship with his zoo-keeping father as the story develops, as well as discovering that he once was one of the place's more famous citizens being in a popular local band. With the Beijing Olympiad (2008) looming large, there is quite an emphasis for the government on tarting the place up - and that signals quite significant "improvements" for their home on the edge of the Gobi desert. Much of it has already been earmarked for demolition, and with most of the heart (and soul) of the place already removed, the authorities turn their attention to the serious problem of hundreds of feral dogs marauding around potentially spreading rabies. There is one particularly skinny black one that is worth 1000 Yuan if it can be caught, and that's the target for the motor-cycling "Lang". Thing is, this mutt is no mug, and is soon doing more of the chasing (and biting). One particularly embarrassing nibble sees both confined to his home in quarantine and that's when the bonds begin to become established and we also realise the extent of hostility felt by some to this man. With the bulldozers never far away, his ailing dad's zoo no longer able to care for it's tenants and the vengeful butcher "Hu" (Hu Xiaoguang) and his thugs out for revenge, we settle into a tale of this newfound friendship that's quite engaging. It's predictable in stages, but it's really the largely dialogue-free effort from Peng set against a backdrop of relentless winds, dust and trains rolling through the increasingly lifeless town that gives this a bit of potency. It's not so much that the town is being cleared because of the Olympics, though that's clearly on director Hu Guan's mind, it's that why was a town ever here in this inhospitable place in the place? It's bleak and forlorn, a concrete oasis in the middle of nowhere and that setting works well as the man himself comes across as lonely, detached as well as emotionally and physically rootless. It's a slow watch, but not one that drags, for two hours and it rather effectively sums up an existence of mundanity, lack of opportunity and a desire for a true sense of freedom quite well. Be warned, not a great deal happens - but I did enjoy it.

When a little domestic incident with the toaster sees her mum in hospital, the young "Mildred" (Nell Fisher) finds she is to be looked after by her dad. Thing is, she hasn't seen him before - ever, and so the arrival of the enigmatically clad "Strawn Wise" (Elijah Wood) who makes his living as an illusionist, proves distinctly underwhelming to this rather cynical young girl. He is keen to please, though, so when she suggests they go camping to try and spot a legendary black panther that's been marauding the countryside he readily agrees. Backpacks and camera at the ready, off they go on a trek that sees their relationship rather predictably, but entertainingly, evolve. Along the way, there's some scoring that's distinctly Morricone, they encounter the menacingly leprechaun-esque "Arnold" (Michael Smiley) and his sidekick "Zo" (Morgana O'Reilly) and there's plenty of adventure as they seek evidence of this big black cat (and earn the $50,000 reward that proof of it's existence brings). There's a jolly chemistry here between Fisher and Wood, the writing gives her plenty of opportunity for some sardonic wit and there is also an enjoyably mischievous joy emanating from a Wood who's clearly enjoying himself back in a NZ devoid or "Orcs". The cinematography shows off the countryside well and the whole story has something of the Children's Film Foundation to it. It's nice too see the emphasis of a film focus more on the script and the characters for a change, and with precisely no CGI and loads of mushrooms, this is quite good fun. Just how, though, did her legs get under that great big tree in the first place?

Every 27 years, the town of Derry experiences sudden, violent and inexplicable mayhem. In 1989, a group of school children rather unkindly called "The Losers Club" decide it is for them to investigate just what has happened. Led by "Bill" (Jaeden Martell) whose younger brother was a victim, these brave kids are soon on the trail of the shapeshifting "Pennywise" - a being from another dimension who frequently takes the shape of a clown. Question is - are these youngsters any match for this lethal and despicable foe? Andy Muschietti has done well here with this film. He manages to combine the more traditional spookiness of the old dark house, with a group of likeable characters who demonstrate the benefits of trust and teamwork as they take on this evil. As with most good horror films, the seemingly invincible must have a weakness, otherwise the plot becomes unsustainable - and this one allows the youngsters to define and exploit this whilst still maintaining enough shock moments and sense of menace to keep the thing interesting. The dialogue isn't the best, but that is not so important here - it's still a really well paced and genuinely scary story that engenders fear from something so outwardly benign as a clown - normally the symbol of joy and happiness. I rarely jump at the cinema nowadays, but this does work!

Greatest remake of a movie ever made in my opinion. Even way scary then the original. Remade the death scenes way better as well. Love it!

Great acting, memorable characters. One of the best (horror?) films I've watched.

It is a movie that looked interesting, but I wasn't necessarily anticipating, because it had the potential to be awful. After seeing it, I can say that while it is good, I don't think it's nearly as good as other people are saying it is, and it had the potential to be. Starting off with the good, the film has some fantastic performances from the kids. I think the best performances in the film are from Andy Skaarsgard (or however you spell it) for Pennywise, and the kid who had asthma. I don't know his name, and I haven't seen him in anything before, but he stole the show. The movie also has some pretty scary moments. The scene inside of the house is one of the scariest scenes of the year, and there are lost of images that were genuinely disturbing. While the films was full of cheesy dialogue, the conversations between the kids are extremely entertaining and captivating. When it came to characters, MOST of the characters are well done and fleshed out. And that leads me to one of the 4 things that keep this film from being great in my eyes. Some characters, such as the bullies and Stan, and bland and have no back story. Therefore, whenever they are put in danger, it isn't nearly as scary as with other characters. Another reason I didn't love this film is the rock fight scene. Basically, the Losers Club stumbles upon the bullies and they throw rocks at each other. The rocks seemingly bounce off of their head without any problems like a trampoline. No one gets killed, or even knocked out. Overall, it was a very bad scene. For the most part the special effects were pretty good. However, the leper outside of the creepy house was awful. The costume would be great if it were for a haunted house or prank, but not for a big budgeted horror movie. When it came on screen I literally thought it was a bully playing tricks on him. And the last problem I have with the film is that the police are seemingly nowhere, along with parents. *Mild spoilers* One of the bullies murders his dad, a police officer, and then around a few scenes later, the son dies too. The bullies like to go around thereatening kids with knives and carving H's into their bellies. I think we would see at least one police officer investegating something in the film, and if not, I think my parents would notice if one day I came home and there was a gigantic blood pool on my shirt. Overall, It is a very fun movie. There are certainly better movies out there, but with this, I have an urge to go watch it again in theaters. It is a perfectly fun popcorn flick.
Score: 7.5/10

Something certainly rings true in the horror thriller **It** that capitalizes on that common known fear that clowns are creepy annoyances to those that have an intense phobia towards them. In the case of **It’s** dastardly powder-faced joyboy or shall we say corrosive killjoy Pennywise the Dancing Clown, he definitely takes the cake in terms of his treacherous tendencies to quiet the unsuspecting kiddies in devious fashion. Here is a tip, parents, do not invite the poisonous Pennywise to your kids’ birthday party any time soon to blow up balloons and sing songs. This is just a friendly little warning. There is more to elaborate on regarding the sicko circus funnypants freak later.
Director Andy Muschietti (‘Mama’) delves into this surprisingly delicious twisted and terrorizing tale of a killer clown that gets his jollies off snuffing the lives out of rural-based youngsters in this calculating frightfest that pushes all the right buttons of panic and perversion. Skilfully edgy and traumatically tasty, **It** is a refreshing throwback to old-fashioned gory-minded gems where the boundaries of old-fashioned scare tactics were designed not only by the actual act of homicidal happenings but the mere suggestive nature of the heinous hedonism taking place. Polished and gripping in its shadowy and shifty overtones, **It** is convincingly probing as an absorbing psychological character study with an off-kilter sense of defiance in its naughty commentary on youthful innocence being compromised.
Based on the novel from famed hair-raising author Stephen King, **It** delivers the solid, sordid goods of a wild and wicked imagination following the acidic exploits of a menacing clown in the aforementioned Pennywise (played with penetrating and devilish aplomb by Bill Skarsgard from ‘Atomic Blonde’) whose murderous methods of slaughtering the young has been a staple signature in his madness for centuries now. The surviving tykes in the quaint town of Derry, Maine must now safeguard themselves from the makeup-wearing whackjob and figure out a way to terminate the baggy-panted beast before he continues to strike again and victimize another doomed child.
The backstory behind Pennywise’s existence is that he is some shape-shifting demon that emerges from the sewers only to target the unlucky rugrat in his immediate path while conniving, and conducting his blood-thirsty ways. However, there are a group of children that refuse to play dead for the demented clown and the quest to create an ill-advised showdown with the deplorable Pennywise would prove to be a very violent and mentally scarring experience in the process.
The story centres around young Bill (Jaeden Lieberher, ‘Allegiant’) and his early encounter with the sadness of unknowingly witnessing Pennywise’s wrath as it was inferred that the clown had to do with the demise of his precious little brother, George (Jackson Robert Scott), who never returned after enthusiastically wanting to work on a fun project in the basement. This haunting revelation sticks with poor Bill until this very day.
Nowadays, Bill must cope with the typical obstacles at school avoiding bullies and dealing with the pitfalls of peer pressure and needing to belong to a group of trusty associates. Thus, Bill is able to cement close relationships with the town’s other free-spirited youngsters. Still, there is that hovering myth about the mysterious sewers and, yes, the evil-minded Pennywise is at the forefront of fearful concern for Bill and the bunch. In fact, the gang will succumb to their collection of fears, paranoia and hesitation as the suburban legend of the creep-seeking clown clouds each of the kids’ tainted psyches.
The ensemble of young actors in **It** all register accordingly with their characters’ childhood shock in trying to overcome the overwhelming and petrifying mindset that has invaded their sensibilities. Lieberher has an authentic raw turn as the lead lad invested in the bizarre boundaries of matching wits with the demonic chalk-skinned trickster and his committed craziness. The other supporting cast of exposed kiddies on this adventurous train wreck of terror includes Sophia Lillis (’37’), Finn Wolfhard (from television’s ‘Stranger Things’), Jeremy Ray Taylor (‘Alvin And The Chipmunks: The Road Chip’), Wyatt Oleff (‘Guardians Of The Galaxy”), Chosen Jacobs, Jack Dylan Grazer (‘Tales Of Halloween’) and Nicholas Hamilton (‘Captain Fantastic’).
There is no doubt that Skarsgard’s clown of corrosion in Pennywise steals the show with his nefarious nature blistering shamelessly in seedy-minded elation. Clearly, Skarsgard chews the tarnished scenery with his abominable costumed cretin tip toeing on the unassuming sidelines while striking gory goosebump moments for his pubescent prey on screen and the twitchy audience off screen.
Sure, **It** suffers from the conventional trappings of cheesy false alarm jolts and the obligatory lurking in the dark sequences are arbitrarily tossed in as an aftermath for the legitimate lunacy of our star-making crazed and corruptible clown to perform his showboating insanity. Besides, what horror showcase has not welcomed the invitation of the overused and abused jump-scare techniques highlighted by a jittery soundtrack? Still, Muschietti and screenwriters Chase Palmer, Cary Joji Funkunga and Gary Dauberman manage to supply the infectious and insidious **It** with well-executed scary shenanigans, well-paced anxiety, wavering vulnerability and decent acting on behalf of the performers that aptly brought to life the eerie visions and vitality of King’s complex, creative mind.
Truly **It** is one of the best harrowing and in-depth horror/psychological thrillers to emerge in 2017. Also this titillating tale of cautionary kiddie chaos may be one of King’s formidable movie adaptions since the effective tension-filled, off-the-wall brilliance of 1990’s _Misery_.
**It** (2017)
Warner Bros. Pictures and New Line Cinema
1 hour 35 minutes
CAST: Bill Skarsgard, Jaeden Lieberher, Sophia Lillis, Finn Wolfhard, Jeremy Ray Taylor, Wyatt Oleff, Chosen Jacobs, Nicholas Hamilton and Jack Dylan Grazer
DIRECTOR: Andy Muschietti
WRITERS: Chase Palmer, Cary Joji Funkunaga, Gary Dauberman
MPAA Rating: R
GENRE: Horror/Mystery & Suspense
Critic’s Rating: *** stars (out of 4 stars)
(c) **Frank Ochieng** 2017

If you are gonna watch this movie go to the theatres and watch it...It's way more scarier than Annabelle: Creation and you will have lots of jump scares too.

More _Fucked-Up-Coming-of-Age_ than _Monster-Movie-Slasher-Horror_. Which is what it should be, but perhaps not what it's marketed to be. Stephen King's _It_ is one of my all time favourite books, and I don't know that it will ever get a faithful adaptation (totally understandable seeing as the thing is 1200 pages and contains a multi-book spanning mythology of Space Gods and Turtle vomit), but this does a pretty good job of interpreting the feeling of the novel, even if it's not a great adaptation the events as a whole.
The kids are all great, Skarsgård makes for a good Pennywise, Pennywise improves as the piece moves forward, and the town is completely believable as "Derry" in the '80s. It may not be all it's purported to be, but is a very impressive film on its own merits.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._

**This movie went right to the trash.** I cannot believe what Warner Bros has done for this piece of trash.
Yes, there have been rave reviews for this movie, but we recommend that you do not mind them, as we should not be teaching children on how to safely get sodomized by a monster.
These directors' brains are also in the trash. Now let's put the MPAA R rating right into the trash where it is supposed to go. Final warning: **Don't let your kids watch trash.**

"Skarsgård goes to hell and back to craft a truly malevolent creation, utterly believable as the black soul of King’s cursed small town..."
Read the full review here: http://screen-space.squarespace.com/reviews/2017/9/6/it.html

Providing care, comfort and compassion to the world’s downtrodden is undoubtedly a noble, if exhausting and often-frustrating, cause, especially when pleas for help go ignored or fall on deaf ears. Yet, every so often, someone comes along who tirelessly keeps on fighting for those less fortunate, as was the case with Italian immigrant Mother Francesca Cabrini (Cristiana Dell’Anna). Upon her arrival in New York in 1889, the diminutive but zealous nun from Lombardy set about her work to care for her fellow countrymen and women (especially orphaned and abandoned children) in desperate need of food, housing and medical care, the first charitable undertaking of what she envisioned becoming a worldwide network of such ventures. She successfully raised awareness of the plight of these emigrees by getting the attention of a New York Times reporter (Jeremy Bobb), an endeavor that garnered support for her efforts and challenged the prejudicial attitudes of the public and New York’s municipal government, including its bigoted, intolerant mayor (John Lithgow). And, through it all, she wrestled with personal health issues that hung over her for many years. Writer-director Alejandro Monteverde’s latest presents a detailed, well-told biography of a woman who wouldn’t give up at a time when the deck was stacked against her, both on the bases of her gender and nationality, as well as (in some cases) as a representative of the Church. The picture’s superb production design, fine period piece production values and gorgeous cinematography lend much to this release, as do the performances of Dell’Anna and Lithgow, along with a host of supporting characters. Despite these strengths, though, this slightly overlong offering has occasional problems with pacing, monodimensional character development, overdramatic elements (particularly in the soundtrack) and an underdeveloped back story. At the same time, however, “Cabrini” tells an inspiring and uplifting tale of someone who accomplished a lot but hasn’t really received the attention she’s due. This film helps to make up for that oversight while reminding us all that we can play a part in fulfilling her dream of genuinely creating an empire of hope for the world.

A cracking movie!
I can't say I was expecting much from 'Cabrini', given I hadn't heard anything about it online or in real life - no trailers or anything of ilk. I was also alone in the cinema , which is pleasing personally but is possibly a bad sign for a movie. In actuality, though, it's a great production! Supremely acted, astutely paced, some awesome visuals and a strong score.
The cinematography really is excellent, I lost count the amount of times I thought to myself "What a shot that is!". As for the acting, Cristiana Dell'Anna puts in a terrific lead performance - it's naturally, given I've only seen one or two Italian flicks, the first time I've seen her in anything, here's hoping she appears more in what I watch. Giancarlo Giannini also stood out to me. Good to see John Lithgow and David Morse, too.
A really nicely told (true!) story. The ~2hrs 20min run time truly flew by. I highly recommend checking this one out if you get the opportunity!

Cristiana Dell'Anna delivers strongly here as the eponymous nun determined to set up a network of orphanages in China to help the sick and impoverished children there. Her persistent hassling of the Vatican for permission - and funds - has finally wound them up to the point where she is invited to Rome to be finally told no. Even there, though, she's sticking to her guns and after a persuasive audience with Pope Leo XIII (Giancarlo Giannini) manages to get permission to prove her worth - only in New York! To it's slum and run-down Five Points district she is sent and what now begins is an adventure that tests her very mettle as the, at best indifferent, attitude of the Archbishop (David Morse) is more concerned with appeasing the Mayor (John Lithgow) than facilitating her wishes for profound change. It's curious that in a city founded by immigrants there existed such a polarity of the Italian, the Jewish and Irish communities offering little, if any, tolerance of the other. Cabrini realises that neither her religion nor her status as a nun is going to help her - she is going to have to recruit local urchins and fight for every scrap of progress. It's history, so we do know what ultimately happens but Alejandro Monteverde has produced a classy looking portrait that still imbues enough jeopardy into the proceedings as she struggles. Her single-minded determination, her bloody-mindedness - all tempered with huge amounts of humanity and decency are well portrayed here. This is a very good looking film, and the narrative also demonstrates clearly the diminished role of women in what purported to be an open and democratic society - American and Italian, and a class system that cared little for those who lived on the wrong side of the tracks. It's a bit long - there are moments that slow the pace down and drag the story, but in the main this is a poignant telling of the story of a woman who was prepared to sacrifice whatever was necessary for those less privileged.

Reeves is such a great actor. Another action packed filled movie. He nuts on everyone all because they killed his dog.

Simply a cool character doing a lot of very bad things for all the right reasons. Immensely slick and incredibly fluid action in this movie. But the subtleties and nuances of world details are what make this story so addictive. Even after more than a hundred watches I still have to skip that puppy scene.

Pure entertainment, this.
Happy to have finally got around to watching this franchise! I expected sheer enjoyment and that's what I got. 'John Wick' is good fun! It is more hammy than I thought it would be, not that that's a criticism. Some characters duck out surprisingly abruptly too (justice for Clarke Peters!), even when the one who should get taken out immediately somehow manages to stick around for a while.
Keanu Reeves is always a pleasure to watch act. His character is a badass, that's for sure. If I'm being truthful, none of the others stood out to me too much - not in a negative way, just moreso they are all on the same level as each other behind Reeves. Willem Dafoe is the best of the rest, though.
I look forward to checking out the sequels, which I'm expecting positive things from - especially with, presumably, bigger budgets.

John Wick is the definition of a blockbuster action film, with big set pieces and visceral stunt work that will leave audiences gasping. While the story and performances are lacking, the creators make attempts at establishing a greater world around the characters. There are some really creative services and lore that go into the assassin underworld that is simply brilliant. The acting all around is quite lackluster. I love Keanu Reeves as a man, but he cannot deliver dialogue well. I know he is supposed to be very emotionless, but there is just a robotic nature to his line delivery that is quite awkward. His performance does not take a ton away from the movie but could have elevated it if he were a bit better. The main conflict of the story is a bit cheesy and did not totally work for me, but at the end of the day, it is just a vehicle for the action and does enough to propel the story forward. The main focus of these films is the brutality of the choreography. John Wick stacks up a large body count with ease executing opposing assassins with a plethora of weapons and tactics. There are some creative kills in the movie, but most are just headshots delivered by a pistol. I would have loved to see a little bit more variety, but it was so in-your-face and absurd that I still had a great time with it.
Score: 79%
Verdict: Great

My wife made me watch the John Wick series when #3 came out... and I started with #3. She was pretty sure that I needed to watch the first two to understand what it was about... I was pretty sure that I didn't.
Turns out I was right. You don't need to watch 1 and 2 to understand everything that is going on in 3. You don't have to watch 1 to understand 2.
You can really jump in anywhere you want, and be up to speed withing a few seconds. The plot is really that paper thin.
You've seen movies with plots like this before. The tough guy that is the best at what he does goes out for revenge. It could be the plot from Taken... from any movie really.
The plot doesn't matter.
What matters is stylized nonstop action. The action is hard, fast, and it looks really, REALLY cool.
The story is absolutely nothing to write home about, but it's not important to the movie anyway. That's not where the fun is. Everything is paper thin, everyone knows it is paper thin....
... because we all realize that this is a start-to-finish action extravaganza and things like plots and stories in movies like this only really get in the way. Too deep and the movie starts to stink.
So, what you have is really fun, really exciting, really cool looking action... and it's entertaining. It's OK to admit that it's low on plot, because.... it is what it is, and what it is is super fun and super entertaining.

Keanu Reeve’s very best since the Matrix!!!

**The mastery of stunt choreography and world-building make John Wick the new standard of action films.**
John Wick is a master class on taking every movie trope and delivering an incredibly fresh and innovative franchise that delights avid action fans and casual observers alike. Chad Stahelski and team break free from the now overused shaky cam to hide mediocre acting and push their stars and stunt team to give us some of the best action sequences in film since The Matrix. But to take this movie even further into brilliance, Stahelski prefers to show and not tell the audience about the world in which John Wick lives. As a result, everything is mysterious, leaving viewers intrigued, questioning, and wholly immersed in this assassin-filled world. The unusual gold coin currency, the legend and fear of John Wick, the enigmatic Continental hotel that forbids any assassin "work" on the premises, and much more sweeten a typical action revenge story into a cinematic treasure.

It's cheesy, formulaic, and hammily acted. It's also stylish, high energy, and generally just a fun popcorn movie.
"John Wick" is a retired hitman who gets brought back into the life by a personal attack (no spoilers here, but if you're squeamish about animal cruelty, be warned). Okay, we've heard this story dozens of times.
What's different is the world in which this takes place. There's a secret criminal underground that seems to have their hands in everything, and there's a specific code and honor among thieves. Actually, come to think of it, we never really meet anyone who isn't involved or in the know somehow, so it's implied that this society is very widespread and possibly runs everything. This film actually seems to have more in common with the "Wanted" comic book than the "Wanted" movie did.
Part of the style and identification with the near superhuman Keanu Reeves as Wick is that he isn't a perfect action hero. He gets hurt. A lot. Unlike Neo, he's not invincible. He's simply very well trained and determined, which makes the combat sequences more interesting because, even though you know the outcome, there's always this little part in the back of your mind that wonders if he'll come out in one piece, making them gritty and...semi-realistic. Let's be honest, a lot of the action moves are very theatrical and wouldn't have much practical value in the real world.
Given the implications for how big this criminal underworld probably is, it seems to have been set up to be a franchise from the start. From background characters like Ian McShane's Winston (who keeps referring to Wick as "Jonathan" even though the name is John; different spelling means it isn't a shortened version of his name) to Lance Reddick's hotel manager (who I would swear there is more going on with this character and hopefully gets explored later), there's a lot of ground to explore. It's not a smart or challenging film, but it is fun and not a bad way to spend a couple hours if you like action movies.

**Pure unadulterated action**
John Wick - it's that kind of a character whose name is enough to inflict terror in the minds of people. And whoever isn't terrified doesn't mean that they're better, it just means that they don't know JOHN WICK.
It definitely isn't the first character of it's kind, but very few characters of this kind convince you that they are what they are supposed to be. Let's just say that John Wick kicks a** and he is pretty awesome at that.
I can't think of anyone else to be John Wick other than Keanu Reeves, the guy's living the character on screen. The hand to hand combat, usage of knives and guns, the action, it all seems poetic at times. The thing I loved the most is that there wasn't too much noise, no Boom Boom, just the Bang Bang, exactly what you'd expect from a hit-man.
The cinematography, dialogues, background score, direction, action, everything was just what a movie like this needs. It ticked all the right boxes for me and I think every action movie fan would lap this one up.
It is a great action revenge movie that never runs out of steam throughout it's course. So, everyone who loves to see bullets flying all over the screen, or to quote it better, say hitting just the right spots, go treat yourself to this movie. You'd be glad.
An 8 out of 10